Pedro  
Michelangelo  
Jean-Jacques  
Ingmar  
Bernardo  
Luc  
Robert   
Luis   
Leos  
Claude  
Alexander  
Th.    
Federico  
Jean-Luc   
Peter  
Mike  
Agnieszka  
Alfred  
Aki  
Krysztof   
Patrice  
Mike  
Ken   
Sven [on Bergman]
Eric  
Andrej   
Luchino  
Wim  
Ingmar Bergman: Film Critic
Excerpt from an interview in the Swedish daily - Sydsvenska Dagbladet
During an interview for the Swedish paper Bergman is asked his opinion
on other film directors. He replies with his usual brutal honesty.
On Orson Welles:
Bergman: For me he's just a hoax. It's empty. It's not interesting. It's
dead. Citizen Kane, which I have a copy of - is all the critics' darling,
always at the top of every poll taken, but I think it's a total bore.
Above all, the performances are worthless. The amount of respect that
movie's got is absolutely unbelievable.
Question: How about The Magnificent Ambersons?
Bergman: Nah. Also terribly boring. And I've never liked Welles as an
actor, because he's not really an actor. In Hollywood you have two categories,
you talk about actors and personalities. Welles was an enormous personality,
but when he plays Othello, everything goes down the drain, you see, that's
when he's croaks. In my eyes he's an infinitely overrated filmmaker.
On Michelangelo Antonioni:
Bergman: He's done two masterpieces, you don't have to bother with the
rest. One is Blow-Up, which I've seen many times, and the other is La
Notte, also a wonderful film, although that's mostly because of the young
Jeanne Moreau. In my collection I have a copy of Il Grido, and damn what
a boring movie it is. So devilishly sad, I mean. You know, Antonioni never
really learned the trade. He concentrated on single images, never realising
that film is a rhythmic flow of images, a movement. Sure, there are brilliant
moments in his films. But I don't feel anything for L'Avventura, for example.
Only indifference. I never understood why Antonioni was so incredibly
applauded. And I thought his muse Monica Vitti was a terrible actress.
On Federico Fellini:
Bergman: We were supposed to collaborate once, and along with Kurosawa
make one love story each for a movie produced by Dino de Laurentiis. I
flew down to Rome with my script and spent a lot of time with Fellini
while we waited for Kurosawa, who finally couldn't leave Japan because
of his health, so the project went belly-up. Fellini was about to finish
Satyricon. I spent a lot of time in the studio and saw him work. I loved
him both as a director and as a person, and I still watch his movies,
like La Strada and that childhood rememberance - what's that called again?
The interviewer admits that he has also seen the movie several times,
but just now the title slips his mind. Bergman laughs delightedly.
Bergman: Great that you're also a bit senile! That pleases me.
Later the same day, several hours after the interview, the phone rings:
It's Bergman. 'AMARCORD!', he shouts.
On Francois Truffaut:
Bergman: I liked Truffaut a lot, I've felt a lot of admiration for his
way to address the audience, and his storytelling. La nuit américaine
is adorable, and another film I like to see is L'enfant sauvage, with
its fine humanism.
On Jean-Luc Godard:
Bergman: I've never gotten anything out of his movies. They have felt
constructed, faux intellectual and completely dead. Cinematographically
uninteresting and infinitely boring. Godard is a fucking bore. He's made
his films for the critics. One of the movies, Masculin, féminin,
was shot here in Sweden. It was mindnumbingly boring.
On Andrei Tarkovsky:
Late one evening in 1971, Bergman and his friend and director Kjell Grede
by pure coincidence stumbled upon a copy of Andrej Rubljov in a screening
room at Svensk Filmindustri. They saw it without any subtitles. He ranks
it to be one of his most startling and unforgettable movie experiences
On modern American cinema:
Bergman: Among today's directors I'm of course impressed by Steven Spielberg
and Scorsese, and Coppola, even if he seems to have ceased making films,
and Steven Soderbergh - they all have something to say, they're passionate,
they have an idealistic attitude to the filmmaking process. Soderbergh's
Traffic is amazing. Another couple of fine examples of the strength of
American cinema are American Beauty and Magnolia.